ABOUT THE SITTER ( Identified As:)
Jan van Huysum also spelled Huijsum (15 April 1682 – 8 February 1749), was a Dutch painter.
( Last Image 6 Shows Sitter In Later Years Of Age )
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He was the brother of Jacob van Huysum, the son of the flower painter Justus van Huysum, and the grandson of Jan van Huysum I, who is said to have been expeditious in decorating doorways, screens and vases. A picture by Justus is preserved in the gallery of Brunswick, representing "Orpheus and the Beasts in a wooded landscape", and here we have some explanation of his son's fondness for landscapes of a conventional and Arcadian kind for Jan van Huysum, though skilled as a painter of still life, believed himself to possess the genius of a landscape painter. Jan van Huysum's daughter, Francina Margaretha van Huysum, was also a flower painter and may have assisted her father in his work.
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Half of his pictures in public galleries are landscapes, views of imaginary lakes and harbours with impossible ruins and classic edifices, and woods of tall and motionless trees-the whole very glossy and smooth, and entirely lifeless. The earliest dated work of this kind is that of 1717, in the Louvre, a grove with maidens culling flowers near a tomb, ruins of a portico, and a distant palace on the shores of a lake bounded by mountains.
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Some of the finest of van Huysum's fruit and flower pieces have been in English private collections: those of 1723 in the earl of Ellesmere's gallery, others of 1730-1732 in the collections of Hope and Ashburton. One of the best examples is now in the National Gallery, London (1736–1737). No public museum has finer and more numerous specimens than the Louvre
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ABOUT THE ARTIST ( Workshop Of Arnold Boonen )
Philip van Dijk 1683-1753 was a Pupil of Arnold Boonen in Amsterdam, and also became a student of Adriaen van der Werff in Rotterdam, where he married in 1708.
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Later the same year, he became a member of the Guild of St. Luke in Middelburg. In 1718 he became a member of the Confrerie Pictura, where he became a popular painter. Much later he returned to teach at the drawing academy and had various students
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A good quality bust length portrait of Jan Van Huysum 1682-1749 depicted in a brown coat, white neckerchief, and red mantle. He wears a voluptuous blonde wig with a long club-tied lovelock to the side. The painting is comparable with works by the Dutch prolific painter Arnold Boonen on the ground of the handling, pose, and costume. It dates to about 1720 and appears to be by an artist from his circle most notably Philip van Dijk (1683-1753) who was his pupil. Van Dijk went on to become official painter to the court of Landgrave William VIII of Hesse and then to Prince of Orange William IV.
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MANNER OF Arnold Boonen (1669–1729), the well-regarded portraitist born in Dordrecht and active in Amsterdam from 1696. He was a pupil first of Arnold Verbuis, and then of Godefried Schalken.
Boonen painted genre pictures in the style of the latter, representing subjects by candlelight, but met with such encouragement in portrait painting that he devoted himself almost wholly to that branch of art. His style was well adapted to succeed in it. An excellent colourist, a faithful designer of his model, and highly skilled, he was soon distinguished as one of the ablest artists of his day.
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Boonen painted some of the greatest members of society such as the Elector of Brandenburg, later King Frederick I of Prussia, the Duke of Marlborough, the Russian Tsar Peter the Great, and Prince William IV of Orange-Nassau.
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FRAMED MEASUREMENTS
Height 35.5 Inches ( 90 cm )
Width 29.5 Inches ( 75 cm )
Depth 1.75 Inches ( 4.5 cm )
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CONDITION
Good Order Throughout & Ready To Hang.
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DELIVERY
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Worldwide Packaged By Air Freight USA Add £200 ( Inc Insurance )

This slightly naive painting of Mary Stuart ( Mary Queen Of Scots 1542-1587 ) is one of many examples produced throughout the centuries since her death of a portrait known as the ‘Sheffield’ type
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This depiction was previously thought to be derived after the original version as seen on display at Hardwicke Hall and was said to have been painted while Mary was in captivity at Sheffield Castle.
This is however questionable as the copied likeness here is most probably another of many derivations of Nicholas Hilliard’s works.
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It is accepted that the production of this portrait type actually grew from James 1st idea of rehabilitating his mother’s legacy in the early 17th century.
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James 1st never knew his mother, but sought to suppress her poor reputation when he became king of England in 1603.
His succession to the throne depended on his descent from Mary, and to have her remembered as a flawed, if cunning political opportunist could only harm his position.
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Portraits of the type were produced to elevate the memory of Mary into the status of a pious victim who was very much misunderstood and was martyred for the good of Scotland.
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This portrait of Mary Queen Of Scots is thus produced after her death and is a portrayal of her in mourning, depicted wearing the prominent cross on a long chain and with no conspicuous jewellery.
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The portrait aims to convey redemption as a record of her likeness. She spent most of her childhood in France while Scotland was ruled by regents, and in 1558, she married Francis the Dauphin of France.
Soon widowed, Mary returned to Scotland, arriving in Leith in 1561. Four years later, she married her first cousin, Henry Stuart, Lord Darnley and in 1566 they had a son, James.
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Framed Measurements : 21 x 17 Inches
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Our Ref 0817 ( NOW RESERVED )

Ref: 0817

Price:
£2,000

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George Morland Coloured Mezzotint Feeding The Pigs Engraved By I.R.Smith

After George Morland Mezzotint Printed In Colours & Originally Engraved By I.R.Smith
Titled Feeding The Pigs.
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ABOUT THE ARTIST
George Morland (26 June 1763 in London – 29 October 1804 in Brighton) was an English painter. His early work was influenced by Francis Wheatley (painter) but after the 1790s he came into his own style. His best compositions focus on rustic scenes: farms and hunting smugglers and gypsies and rich, textured landscapes informed by Dutch Golden Age painting.

George Morland was born in London on 26 June 1763. He was the son of Henry Robert Morland, and grandson of George Henry Morland, said by Cunningham to have been lineally descended from Sir Samuel Morland, while other biographers go so far as to say that he had only to claim the baronetcy in order to get it. Morland began to draw at the age of three years, and at the age of ten (1773) his name appears as an honorary exhibitor of sketches at the Royal Academy. He continued to exhibit at the Free Society in 1775 and 1776, and at the Society of Artists in 1777, and then again at the Royal Academy in 1778, 1779 and 1780.
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Recent new gallery frame and lined mount strung ready to hang
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Framed Measurements
Height 28.75 Inches ( 73 cm )
Width. 32.75 Inches ( 83 cm )
Depth 1.20 Inches 3 cm )
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Condition
Excellent with no fading and well preserved under glass and sealed with hardboard panel
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Dateline
Estimated around 1870 ( the first Engraved version dates c1801
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Inscriptions Lower Bottom Margin Reads Left To Right
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Painted By G.Morland / London Published July 1 1801 By I.R.Smith King Street Govent Garden
Engraved By I.R.Smith & Mezzotints Engraved To His Royal Highness The Prince Of Wales
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‘ No. 1 Feeding The Pigs ‘
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Delivery
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TELEPHONE ENQUIRIES: 07765 856171
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Quote Our Ref 0816

Ref: 0816

Price:
£380

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George Morland The Public House Door Mezzotint Engraved By W.Ward Printed In Colours

After George Morland Mezzotint Printed In Colours & Originally Engraved By W.M.Ward
Titled The Public House Door.
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ABOUT THE ARTIST
George Morland (26 June 1763 in London – 29 October 1804 in Brighton) was an English painter. His early work was influenced by Francis Wheatley (painter) but after the 1790s he came into his own style. His best compositions focus on rustic scenes: farms and hunting smugglers and gypsies and rich, textured landscapes informed by Dutch Golden Age painting.

George Morland was born in London on 26 June 1763. He was the son of Henry Robert Morland, and grandson of George Henry Morland, said by Cunningham to have been lineally descended from Sir Samuel Morland, while other biographers go so far as to say that he had only to claim the baronetcy in order to get it. Morland began to draw at the age of three years, and at the age of ten (1773) his name appears as an honorary exhibitor of sketches at the Royal Academy. He continued to exhibit at the Free Society in 1775 and 1776, and at the Society of Artists in 1777, and then again at the Royal Academy in 1778, 1779 and 1780.
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Recent new gallery frame and lined mount strung ready to hang
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Framed Measurements
Height 28.75 Inches ( 73 cm )
Width. 32.75 Inches ( 83 cm )
Depth 1.20 Inches 3 cm )
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Condition
Excellent well preserved under glass and sealed with hardboard panel
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Dateline
Estimated around 1870 ( the first Engraved version dates c1801
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Inscriptions Lower Bottom Margin Reads Left To Right
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Painted By G.Morland / London Published July 20 1801 By T.R.Smith King Street Govent Garden
Engraved By W.Ward
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‘ No. XII. The Public - House Door ‘
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Delivery
UK Mainland ( Next Day Recorded & Insured ) Add £50
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TELEPHONE ENQUIRIES: 07765 856171
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Quote Our Ref 0815

This is a beautiful large scale early 19th century oil portrait painting on canvas depicting three young angelic looking children,‘ studio of ‘ Sir Thomas Lawrence being attributed to one of his pupils and possibly produced under his influence.
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Lawrence is well known for producing a portrait of The Calmady Children (Emily, 1818–?1906, and Laura Anne, 1820–1894) Emily and Laura Anne were the children of Charles Calmady of Langdon Court in Devonshire. Their portrait— shown at the Royal Academy, and engraved under the title Nature—has always been one of Lawrence's most popular works.
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This fine example is on display in The Metropolitan Museum Of Art In New York and bears similarities to the painting we have offered for sale. His studio produced many copies of his best known works to meet demand and these were often completed by his pupils or studio assistants.
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In his latter years the artist struggled financially and with his health and so moved back to his family address in Greek St London from where he tried to keep up with demands for paintings.
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When he eventually died in 1830, there were many unfinished paintings found in his studio which were completed by his pupils and it’s probable that many of these paintings were sold on as originals.
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It is documented that whilst he was alive, one of his pupils completed his portrait depicting Mrs. Brandling and so there is certainly a strong possibility that our portrait has been produced from his studio under his influence and perhaps with an helping hand in the accomplished composition, for both he and his pupils engaged in finishing many of each other’s works.
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George Henry Harlow was also a pupil but only stayed within his workshop for a short period of 18 months and left after a dispute relating to an altered depiction of one of his well known original works.
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Many artists have tried to reproduce almost identical works, more so with the Calmady Children, but our example is not a copy of this famous portrait but poseses all the attributes of his hand in manner and character,but is itself an original of the time the artist lived and is a rare find to be able to purchase today.
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Framed Measurement
Height 41 Inches
Width 36 Inches
Depth 5 Inches
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Condition
Good Restored Order Throughout
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Delivery
UK Mainland £100 Courier By Hand Worldwide Quotes On Request
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TELEPHONE ENQUIRIES 07765 856171
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Quote Our Ref 0814